Welcome to The Lanes Armoury, Britain's Truly Magical Place, Where Thousands of Original & Breathtaking Wonders Are For Sale

Our beautiful pieces from history are not always just for looking at, some can still be enjoyed and worn for every one to see.

See our latest incredible 'Royal' daggers from the 17th century Pattal-hatara (Four Workshops) of the King of Sri Lanka. Occasionally, as we are Great Britain’s leading gallery of our kind, we have had had such knives, over the past 30 years, before, but nothing as fine as these museum grade examples, from the small collection we were thrilled to have acquired.

We have just also just added to the web store; a German colonels sword surrendered at the formal surrender of the German armed forces in May 1945 to Field Marshal Lord Montgomery, and a beautiful and magnificent samurai swords from the 1600's Tokugawa Shogunate period, one of the most fabulous samurai swords you might ever see. Plus, an Ancient Greek short sword or long dagger From The Greco-Persian Wars era, From the time of the Spartans at Thermopylae, to Alexander the Great's conquest of Persia & Egypt

We Are Not Just A Webstore, We Are Always Welcoming Thousands Personal Visitors To View or Buy our Museum Pieces in Our Gallery In Brighton, Every Day* {but Sunday}

Thousands of original, historic, ancient, antique and vintage collectables. For example; from Ancient Rome, China and Greece, to Medieval Japan, and Viking Europe. Covering British, European, and in fact, all worldwide eras of historical events from the past 4000 years, with antiquities, weaponry, armour, object d’art, militaria and fabulous books, from the Stone Age, the Bronze Age and the iron age, and right up to WW2.

Where else in the world could you find, under one roof, original artifacts, such as,; a mace and archer’s ring recovered from the site of Battle of Crecy, a sword of a British Admiral or notorious pirate fleet captain of the Golden Age of piracy of 17th century England, a battle mace, possibly once used by of one the personal guards in the service of the most famous Pharoah, Rameses the Great of Egypt, or, a museum quality 500 year old sword of a samurai clan Daimyo lord, and a pair of gold and enamel Art Deco 1920’s Magic Circle medals awarded to a friend of Harry Houdini. And all of the above, with many, many other Museum pieces, have been just been offered upon the site within the past couple of weeks.

Personalised and unique ‘Certificates of Authenticity’ can be supplied for every, single, purchase.

Our family have been personally serving the public in Brighton for several generations, in fact, for over 105 years.

* Opening hours Monday to Saturday 11.00am till 4.00pm, closed Sundays and Bank Holidays.


See in the gallery Will Young wearing one of our fabulous Victorian tunics, plus, James Marshall ‘Jimi’ Hendrix  read more

Code: 24055

A Delightful & Beautiful Early to Mid Edo Period 1598-1863 Samurai War Arrow. A Long Bladed Armour Piercing Tagari-Ya, With Yadake Bamboo haft, & Sea Eagle Feather Flights and a Traditional Tamahagane Tempered Steel Head In Stunning Polish with Hamon

Yanagi-Ha (willow leaf) Form. With original traditional eagle feathers, probably the large edge-wing feathers of a Japanese sea eagle.
The armour pierceing arrow tip, of yanagi-ha form, that is swollen at the tip to have the extra piercing power to penetrate armour and helmets {kabuto}, is a brightly polished, traditional tamagahane steel hand made, by a sword smith, long arrow head, originally hand made with folding and tempering exactly as would be a samurai sword blade, possibly signed on the tang under the binding but we would never remove it to see. The Edo period early eagle feathers are now slightly worn.
It is entirely indicative of the Japanese principle that as much time skill and effort be used to create a single 'fire and forget' arrow, as would be used to make a tanto or katana. A British or European blacksmith might once have made ten or twenty arrows a day, a Japanese craftsman might take a week to make a single arrow, that has a useable combat life of maybe two minutes, the same as a simplest British long bow arrow.

The Togari-Ya or pointed arrowheads look like a miniature version of a long Yari (spear) and were used only for war and are armour piercing arrows . Despite being somewhat of a weapon that was 'fire and forget' it was created regardless of cost and time, like no other arrow ever was outside of Japan. For example, to create the arrow head alone, in the very same traditional way today, using tamahagane steel, folding and forging, water quench tempering, then followed by polishing, it would likely cost way in excess of a thousand pounds, that is if you could find a Japanese master sword smith today who would make one for you. Then would would need hafting, binding, and feathering, by a completely separate artisan, and finally, using eagle feathers as flights, would be very likely impossible. This is a simple example of how incredible value finest samurai weaponry can be, items that can be acquired from us that would cost many times the price of our original antiques in order to recreate today. Kyu Jutsu is the art of Japanese archery.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) In the twelfth and thirteenth century a bow was the primary weapon of a warrior on the battlefield. Bow on the battlefield stopped dominating only after the appearance of firearm.The beginning of archery in Japan is pre-historical. The first images picturing the distinct Japanese asymmetrical longbow are from the Yayoi period (c. 500 BC – 300 AD).
The changing of society and the military class (samurai) taking power at the end of the first millennium created a requirement for education in archery. This led to the birth of the first kyujutsu ryūha (style), the Henmi-ryū, founded by Henmi Kiyomitsu in the 12th century. The Takeda-ryū and the mounted archery school Ogasawara-ryū were later founded by his descendants. The need for archers grew dramatically during the Genpei War (1180–1185) and as a result the founder of the Ogasawara-ryū (Ogasawara Nagakiyo), began teaching yabusame (mounted archery) Warriors practiced several types of archery, according to changes in weaponry and the role of the military in different periods. Mounted archery, also known as military archery, was the most prized of warrior skills and was practiced consistently by professional soldiers from the outset in Japan. Different procedures were followed that distinguished archery intended as warrior training from contests or religious practices in which form and formality were of primary importance. Civil archery entailed shooting from a standing position, and emphasis was placed upon form rather than meeting a target accurately. By far the most common type of archery in Japan, civil or civilian archery contests did not provide sufficient preparation for battle, and remained largely ceremonial. By contrast, military training entailed mounted maneuvers in which infantry troops with bow and arrow supported equestrian archers.

Mock battles were staged, sometimes as a show of force to dissuade enemy forces from attacking. While early medieval warfare often began with a formalized archery contest between commanders, deployment of firearms and the constant warfare of the 15th and 16th centuries ultimately led to the decline of archery in battle. In the Edo period archery was considered an art, and members of the warrior classes participated in archery contests that venerated this technique as the most favoured weapon of the samurai. In the gallery is from an edo exhibition of archery that shows a tagari ya arrow pierced completely through, back and front, an armoured steel multi plate kabuto helmet.

Every item is accompanied with our unique, Certificate of Authenticity. Of course any certificate of authenticity, given by even the best specialist dealers, in any field, all around the world, is simply a piece of paper,…however, ours is backed up with the fact we are the largest dealers of our kind in the world, with over 100 years and four generation’s of professional trading experience behind us  read more

Code: 25512

A Superb Piece Of WW2 Anglo American Aeronautical History, and An Absolute Beauty. An Original, 1940's B3 WW2 USAAF Pilots Sheerling Jacket. Perry Sportswear Co of Newburgh New York Contract. In Super, Wearable Condition

In superbly fully conserved condition, perfectly wearable today.
Good size 40 inch chest

Exactly As Used in WW2 By General George Patton, and the WW2 US Aircrew. pilots, navigators, gunners etc. Type B-3 early American WW2 Contract; No. 33-H-5595 , 43-13612-AF Manufactured by Perry Sportswear Co.​ Newburgh, New York.

There is no doubt that jacket has seen incredible times, and true historical collectors will absolutely love it with all its amazing character and signs of age. Our last example was certainly not mint, in fact pretty worn, but this example is certainly in very good conserved condition indeed. Perfectly wearable

It we had had it when Steve McQueen visited us in the 60’s, we could likely have named our price. He would simply not have left our shop without it!

Made and issued for the Army Air Forces, from 1933 till 1943. Original examples of these super WW2 Aeronautical gems are so very scarce indeed, and the beauty of them is, they are still superbly wearable, in fact the more aged the better!.
US legend General George Patton wore his favourite B3 during the entire Battle of Bulge campaign {and we show a photo of him wearing it,}. Plus we show a movie still of the legendary Steve McQueen and Bob Wagner in their B3's that they both wore in their iconic WW2 movie during 1962, 'The War Lover'. It was while he was filming in Cambridge that he came down to see us in Brighton to view a vintage car we had for sale.

It was a year later in 1963, he starred in one of the greatest war movies of all time 'the Great Escape', as Captain Virgil Hilts 'The Cooler King'.

A faithful modern very fine quality reproduction copy today can cost more than $4,400, {such as by Mc Coys Manufacturing Co.,new made in Japan} so how much more can you value an early, wartime superb condition original.

Over two million American servicemen passed through Britain during the Second World War. In 1944, at the height of activity, up to half a million were based here with the United States Army Air Forces (USAAF).

The job of the half million British based USAAF officers and servicemen was to man and maintain the vast fleets of aircraft needed to attack German cities & and industry.

Working alongside the Royal Air Force (RAF), their aim was to severely weaken Germany's ability to fight. This was a central part of the Allied strategy for winning the war. American women also served, working for the American Red Cross or as members of the Women's Army Corps.

Over 200 airfields were occupied or newly-built by the USAAF. Each one would house around 2,500 American men many times the population of the nearest village. Thousands more were based at smaller sites. Halls and country houses became headquarters for commanders and planners. Some were converted to hospitals or rest-homes for combat-weary fliers. Barns and outbuildings would house teams of truck drivers and their vehicles. Even specialist bakery units were dotted around the UK, providing fresh bread for the airmen.

No wonder, then, that the Americans' arrival was known as the 'friendly invasion' their impact on British life was huge and they profoundly changed the places they inhabited.

The majority of the Americans left Britain in 1945. They left an enduring legacy and are fondly remembered by those they met. Including, all our six aunts! our mother’s sisters. Hundreds of volunteers across East Anglia still help preserve these memories. They look after memorials in village squares, on corners of former airfields, or at crash sites. They manage museums in former control towers, or preserve precious collections in pubs or farm buildings.

Brighton was home to thousands of US and Canadian servicemen in 1944, billeted at all the hotels on Brighton seafront. Despite much of Brighton being off limits to civilian visitors due to it coastal location. With barbed wire fenced off beaches and the mined sea. And our piers were cut in half so they couldn’t be used as Jerry landing jetty’s.

The B-3 flight jacket, introduced by the U.S. Army Air Corps in 1934, was the standard-issue "heavy zone" garment for WWII bomber crews, designed to withstand temperatures down to
at high altitudes. Made of sheepskin with a thick shearling lining, leather exterior, and large collar, it was essential for survival in unpressurized planes.
Developed for crew members flying in open or unpressurized, high-altitude bombers (up to 25,000 feet) during WWII.
Design & Material: It featured sheepskin with fur (shearling) on the inside and a leather exterior. Unlike the lighter A-2 jacket, it did not have knit cuffs or waistbands, which could freeze; instead, it used leather straps for cinching to retain heat.
Features: A large collar with dual buckled straps enabled it to be secured against the face for maximum protection.
Standardized in 1934, it was inspired by the British Irvin flying jacket. While initially, they were crafted with unfinished white sheepskin, designs evolved, and by 1943, they were frequently made in brown, hand-dyed finishes with horsehide reinforcing stress points.
Usage: It was considered the "ultimate" Cold War-era sheepskin jacket, famously worn by figures like General George Patton. It remained in service until May 1943 before being replaced by newer models.

The B-3 is now a legendary, iconic piece of military history often associated with the"tough-as-nails", image of WWII aviators.

Later zip.  read more

Code: 26138

Really, Really Rare, Original German 75mm Tank Shell Case, WW2 As Used by the Infamous Panther Tank, Officially the Panzerkampfwagen V Panther. With Impact Fuse, And Electric Tank Primer. Fitted With 75mm Shell Head, High Explosive, WW2 IssueDated 1944

A fabulous display and conversation piece

On 27 February 1944 it was redesignated to just PzKpfw Panther, as Hitler ordered that the Roman numeral "V" be deleted.citation needed In contemporary English-language reports it is sometimes referred to as the "Mark V".

The Panther was intended to counter the Soviet T-34 medium tank and to replace the Panzer III and Panzer IV. Nevertheless, it served alongside the Panzer IV and the heavier Tiger I until the end of the war. The Panther was a compromise. While having essentially the same Maybach V12 petrol (690 hp) engine as the Tiger I, it had better gun penetration, was lighter and faster, and could traverse rough terrain better than the Tiger I. The trade-off was weaker side armour, which made it vulnerable to flanking fire, and a weaker high explosive shell. The Panther proved to be effective in open country and long-range engagements. Although it had excellent firepower, protection and mobility, its reliability was less impressive. The Panther was far cheaper to produce than the Tiger I. Key elements of the Panther design, such as its armour, transmission, and final drive, were simplifications made to improve production rates and address raw material shortages. Despite this, the overall design has still been described by some as "overengineered".

The Panther was rushed into combat at the Battle of Kursk in the summer of 1943 despite numerous unresolved technical problems, leading to high losses due to mechanical failure. Most design flaws were rectified by late 1943 and early 1944, though the bombing of production plants, increasing shortages of high-quality alloys for critical components, shortage of fuel and training space, and the declining quality of crews all impacted the tank's effectiveness. Though officially classified as a medium tank, at 44.8 metric tons the Panther was closer in weight to contemporary foreign heavy tanks. The Panther's weight caused logistical problems, such as an inability to cross certain bridges, otherwise the tank had a very high power-to-weight ratio which made it highly mobile.

The naming of Panther production variants did not, unlike most German tanks, follow alphabetical order: the initial variant, Panther "D" (Ausf. D), was followed by "A" and "G" variants.

The critical detail of the 88mm round was that it didn’t reach the velocity of the 75mm L71 gun on the Panther. The 88mm round weighed 22 pounds, reached 2600 feet per second and could penetrate 83mm of hardened steel at 2000 meters. The 75mm L71 round was 16 pounds, reached 3070 feet per second and could penetrate 89mm of hardened steel at 2000 meters. Both could easily pop the top off any Allied tank out to 1500–2000 meters. But the heavier 88mm round was slower and had a comparative trajectory like the proverbial rainbow. Even though the 75mm gun on the Panther tank fired a lighter shot, it had a flatter trajectory and didn’t overload the already strained Panther drivetrain with the excessive weight of the 88mm piece.

The bottom of the shell case is surface corroded but you can still see the electric primer fitting. The shell head is an original 75mm WW2 German example, but not the original panther type.

37.5 inches high.

Inert, safe and empty.  read more

Code: 26137

A Superb Original Waterloo Recovered Souvenir '6 Pounder ' Royal Artillery Cannon Ball Fired at La Haye Sainte During The Battle, Recovered From The Farm. With Clear Impact Site To The Ball.

Napoleonic Wars cannon ball recovered from a Waterloo excavation well over 190 years ago. One of three we just acquired that were brought back from Waterloo to England over 190 years ago, the first was sold by us recently.

At the Battle of Waterloo, the British Royal Artillery deployed 6-pounder cannons, from which this ball was fired, a relatively light artillery piece that fired a 6-pound (approximately 2.7 kg) solid iron ball. These cannons, introduced in 1793, were crucial for supporting cavalry charges and were easier to manoeuvre than heavier guns.

The 6-pounder was designed to provide lighter, yet still effective, artillery support to the cavalry and infantry.
They fired various types of ammunition, including round shot (solid iron balls), canister shot (a type of scatter shot), and spherical case shot (a type of shell).
The effective range of the 6-pounder with round shot was around 800-900 yards (732-823 metres), though it could reach up to 1700 yards (1554 metres).
The cannonballs were devastating, capable of inflicting serious injury and damage to both men and horses.

At Waterloo, the 6-pounders were primarily used by the Royal Horse Artillery and some field artillery units, with variations in the types of 6-pounders used.
Captured at Waterloo:
Some French 6-pounder cannons were also captured by the British as trophies of war.
La Haye Sainte:
The strategic farmhouse of La Haye Sainte was a focal point of fighting, where the 6-pounder was used extensively.

We show in the gallery a photo of a Waterloo cannon ball embedded in a cemetery wall, from Waterloo Relics by Bernard & Lechaux

Another identical cannon ball is now in the National Army Museum, see gallery.
NAM Accession Number
NAM. 1999-05-8-1

Every single item from The Lanes Armoury, Britain's famous, favourite, and oldest original Armoury Antique store, is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, and thus, it is a lifetime guarantee.  read more

Code: 26135

Japanese WW2 Kaigunto Officer's Sword By Fukuoka – “Chikugo Miike-jūnin Kawamura Yukimitsu Saku” (筑後三池住幸光作)

At present in the artisans workshop and having a no expense spared thorough cleaning, polishing and conservation. The deluxe saya was covered in polished samegawa rayskin, that had separated from its wooden base, underneath its stitched foul weather cover, but our expert spent two full days removing it and re-affixing the samegawa ray skin and he has done a fabulous job.

It will be photographed and added in the next few days once completed
As England’s favourite Military Antiques & Collectables Gallery, and likely the worlds leading specialist original Japanese Samurai arms and armour dealers outside of Japan {and probably within it} we acquire collections, of all kinds, and add them to our website, every, single day.

Purchased directly from grandson former WW2 POW nurse, this is a very nice wartime production original Japanese Naval Officer’s Katana in the Pattern 1937 Kai-Gunto setting. A Kai-Guntō (海軍刀, naval sword) is a weapon and symbol of rank used by the Imperial Japanese Navy during the WWII Period.

It has a super blade, and Japanese Kai-Gunto naval officers swords are somewhat rare to survive, given that they usually went down with the ships that suffered badly from the continued well deserved assaults from the allied navies, though mostly American. This particular example has the typical WW2 pattern fittings

It has a typical {numbered naval oval tsuba, The tsuka (handle) has two menuki (grip decorations), and kabuto-gane (pommel end cap), with the wooden securing peg still present. Good tsuka-Ito {hilt binding} over fishskin, with traditional Showa cherry-blossom decorative collar.

Condition of the blade, will be, in superb near mint order once finished in the workshop, with an excellent scabbard and fittings that are very fine.

Fortunately these swords were used on board ship, so the army version was far more likely to bear considerable wear, through considerable marching and combat through jungle warfare etc
Cherry blossom motifs appear on many of the koshirae. The handle is good to the blade, and secure.

The wooden scabbard is covered in samegawa and has gilt brass fittings, with good gilding and all of the fittings are sound
Two hanging loops are present, and the condition is good.

Really it should be a super example of an original Imperial Japanese Navy Officer’s Kai-Gunto, in clean condition with clear signature.

It has been over one thousand years ago that the art of making swords appeared in Japan. The swordsmiths of the time may not have known it but they were creating a legendary sword. The Samurai sword has seen combat in many battlefields. From the early days of the Samurai warrior to the fierce battles in the South Pacific during WWII.

From the earliest days hand-made traditional the Samurai sword was unique because it was forged using the finest skills known to man. A tremendous amount of work was dedicated to creating these pieces. They were an instrument of war as much as a beautiful artifact to adorn any decor.

The Samurai sword has grown to be one of the most highly desired military antiques of all time.

The 1937 Pattern Japanese Naval Sword, known as the Kai-Guntō (海軍刀, Sea Military Sword), was formally enacted in October 1937 as the official sidearm for Imperial Japanese Navy officers. These mounts were designed to be more practical for combat than previous, more delicate dress swords, yet they retained traditional elements and were often fitted with high-quality stainless steel blades.

Photo of a Japanese Naval Officer’s sword type examined by commonwealth naval officers after capture.  read more

Code: 26140

A Most Rare, Original, Reich Marshall Herman Goering Small Propaganda Poster. "Weil wir einig sind, sind wir stark, weil wir stark sind, sind wir frei." ... Hermann Goring, " Because We Are United We Are Strong, Because We Are Strong We Are Free"

In very good condition for age.

Rarely surviving piece from the the pre war Germany.

"Weil wir einig sind, sind wir stark, weil wir stark sind, sind wir frei." ... Hermann Goring,

" Because We Are United We Are Strong, Because We Are Strong We Are Free"
28th of February to 6th March 1938. weekly slogans of the National Socialist German Workers' Party.

Another original copy of it is in the George C Marshall Foundation library During World War II, Marshall as Army Chief of Staff (1939-1945) was the most important military figure in the U.S. military establishment and of great significance in maintaining the Anglo-American coalition. After the war, he was named special ambassador to China (1945-1947), Secretary of State (1947-1949), President of the American Red Cross (1949-1950), and Secretary of Defense (1950-1951). In 1953 he was awarded the Nobel Peace Prize for his role in proposing, encouraging legislative action, and supporting the European Recovery Program (known as the Marshall Plan). For nearly 20 years he was a major U.S. leader, militarily, politically and morally, and he is still widely admired today.  read more

Code: 20865

A Superb Antique, Shinto Era, Unokubi (鵜首) Zukuri Blade Tantō, Late 16th To Early 17th Century, from the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い With, Signed Kaboku, 'Nakago Form' Kozuka Side Knife With Imperial Chrysanthemum Mon

The kozuka {side knife} is signed, Koboku, who was a master swordsmith and surgeon to the lord of Mito. He was a famous swordsmith of legend mysteriously assassinated in 1703 during his retirement, yet not before he killed his unknown assassin using his dismembered arm.

A really nice and rare form of samurai tanto fitted with all its original Edo period koshirae Including a superb stunning urushi lacquer 'pine needle' decor saya with buffalo horn fittings, {kurigata, sayajiri}. Iron tetsu tsuba, signed, and decorated with a dragon in the foreground with mountains under clouds at the rear. Patinated copper fuchi of flowers, and a pair of iron rectagular menuki inlaid with flowers, underneath the rich brown coloured silk tsukaito {binding}. The silver inlay in the menuki is now blacked with age and very difficult to see. Made from around the era of the Battle of Sekigahara, Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い

Unokubi (鵜首): Is an uncommon tantō blade style akin to the kanmuri-otoshi, with a back that grows abruptly thinner around the middle of the blade; however, the unokubi zukuri regains its thickness just before the point. There is normally a short, wide groove {hi} extending to the midway point on the blade, this is a most unusual form of unokubi zukuri blade tanto without a hi. It has a beautiful habaki, set in its original Edo period pine needle uriushi lacquered saya.The blade is absolutely beautiful.

A Very Nice Edo Period Shinto Era 'Nakago Form' Kodzuka Iron body inlaid with copper , with the signature kanji of Kaboku, and the Imperial chrysanthemum mon. Kodzuka have been collectable items for many centuries, simply as works of art, even though they were functional knife handles, for the utility blades that fitted into wakizashi, tanto and katana saya. They can vary in quality, and this is a most fine example, inlaid with pure copper. What is particularly scarce is that it is shaped like the tang of the sword, complete with simulated mekugi ana, and signed in much the same way. This type is rare and very collectable. a long thin blade that slotted into it's opening, and the blade was often considered to be almost of a disposable nature, with the handle itself being the prized part.

The Battle of Sekigahara (Shinjitai: 関ヶ原の戦い; Kyūjitai: 關ヶ原の戰い,Sekigahara no Tatakai) was a decisive battle on October 21, 1600 (Keichō 5, 15th day of the 9th month) in what is now Gifu Prefecture, Japan, at the end of the Sengoku period. This battle was fought by the forces of Tokugawa Ieyasu against a coalition of Toyotomi loyalist clans under Ishida Mitsunari, several of which defected before or during the battle, leading to a Tokugawa victory. The Battle of Sekigahara was the largest battle of Japanese feudal history and is often regarded as the most important. Mitsunari's defeat led to the establishment of the Tokugawa shogunate.

Tokugawa Ieyasu took three more years to consolidate his position of power over the Toyotomi clan and the various daimyō, but the Battle of Sekigahara is widely considered to be the unofficial beginning of the Tokugawa shogunate, which ruled Japan for another two and a half centuries

A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi.
The lacquer saya has 'pine needle' decor, a highly complex design of pine needles laid upon black lacquer, in a seemingly random pattern, but in reality each pine needle was strategically placed upon them, one at a time, to give the impression they fell naturally upon the ground, from above, from a pine tree. The surface was then lacquered in clear transparent urushi lacquer to create a uniform smooth surface. in the Edo period it would take anything around a year or more to create a samurai sword saya, as the lacquer coating would be anything up to 12 coats deep, and each would take a month to dry as they were made using on natural materials, not modern quick drying synthetic cellulose lacquers as used today.

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for well over 7000 years. The use of natural lacquer, known as urushi, has a 9,000-year history in Japan. Lacquered artifacts dating back to the prehistoric Jomon period (10,000–300 BCE) have been found at various archeological sites throughout Japan.
Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords
Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.
The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

The kozuka is signed Koboku, he was a master swordsmith and surgeon to his lord of Mito, and an extraordinarily eccentric character. He studied medicine under Tsunoda Kyuho, and he seems to have started forging swords at an early age. According to legend because he had taken up the study of western medicine and he was not satisfied with the scalpels that were available, so endeavoured to make his own. He left the employ of the Mito family in January of 1699, Genroku 12. Some say because he did not get along with his immediate superior the Karo, Nakayama Bizen no Kami, others that his peculiar behavior and egotistical manner was offending too many people and this reached the ears of the lord. House records from 1698, record that his health was failing and it was decided that he be “retired” to Mito. Perhaps he did not wish to leave Edo and be confined to Mito. Whatever the reason the house record notes that he officially asked to resign and left to devote himself to his religious studies on that date.
Five years later found him in the far north living in Oshu Nihonmatsu where one night he stood naked in his garden where he was confronted by an assassin. To this day no one knows who the man was nor why he might have been sent to kill Kaboku but his intent was clear enough. Without hesitation Kaboku, who held a mokuroku in Shibukawa-ryu Jujutsu, charged as his attacker charged him. He grabbed his left wrist with his right hand and used his own left arm to block the cut that was descending toward his head. Still clutching his severed left hand in his right he closed with his attacker and thrust the jagged bone into the mans mouth, here he fell upon him and smothered him with the bloody relic.
Kaboku then went back into his home, perhaps something the assassin had said struck him, perhaps he understood from his own wounds that he would not survive, it is not clear why but using only the right hand he drew out a tanto and took his own life. A strange end for one of the sword worlds strangest characters.

As once told to us by an esteemed regular visitor to us here in our gallery, Victor Harris {the most eminent sword expert in Europe, and sword curator of the British Museum} and his same words that are repeated in his book, see below;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of trading

For those that have interest in original Japanese swords, this is a perfect way to have a superbly made original hand made sword that it mounted in original Japanese fittings of the early samurai form of katana.
** Authentic, currently, modern hand-made nihonto (Japanese sword blades) from licensed swordsmiths in Japan today, typically start around $10,000–$25,000 for a katana, with prices often exceeding $60,000 for renowned top-tier sword masters or customized commissions.
These blades, forged from tamahagane steel, require 12+ months to create due to strict legal limits on production, with some high-end, custom pieces from master smiths such as Yoshindo Yoshihara exceeding $10,000 for smaller tanto blades.
A brand new, katana blade from a reputable but lower ranked smith usually starts around $7,500–$10,000.

Every single item from The Lanes Armoury is accompanied by our unique Certificate of Authenticity. Part of our continued dedication to maintain the standards forged by us over the past 100 years of our family’s trading, as Britain’s oldest established, and favourite, armoury and gallery  read more

Code: 25707

A Marvelous Museum Quality Samurai Tanto, 15th Century, Signed Sukesada, A Famous Line of Exemplary Master Swordsmiths That Continued From the 1400’s To The End of The Tokugawa Shogunate. This Wonderful Tanto is Around 600 Years Old

The great line of smiths that started in the 15th century when this sword was made, and continued until the end of the Tokugawa Shogunate in the 1860’s. {Tanto, despite being referred to as samurai daggers, are always traditionally regarded as ‘swords’, irrespective of length.}

This is truly a wondrous ancient armour piercing bladed samurai tanto from the mid 1400's, is signed Sukesada, and the beautiful hamon is very clear to see, and is an undulating gunome. Complete with all original Edo period fittings, tsukaito and saya.
The saya is of lobster scale ribbed roiro urushi lacquer, with matte lacquer at the bottom section of the saya.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

The fuchigashira mounts are fabulous quality, of multi coloured shakudo and silver decorated over a hand punched nanako ground with carved takebori inro, with pellets of inlaid coral representing the inro's himo mounted ojimi. An inrō (印籠, lit., "pillbox") is a traditional Japanese case for holding small objects, suspended from the samurai's obi worn around the waist when wearing kimono. They are often highly decorated, in a variety of materials and techniques, often using lacquer. The tsuba is a takebori carved with flower petals in incredible detail. The menuki are gold recumbant water buffalo. The tanto was designed primarily as a stabbing weapon, but the edge can be used for slashing as well. Tanto are generally forged in hira-zukuri style (without ridgeline), meaning that their sides have no ridge line and are nearly flat, unlike the shinogi-zukuri structure of a katana. Some tanto have particularly thick cross-sections for armour-piercing duty, and are called yoroi toshi. The tantos primary use was a type of stabbing weapon, however, the blade could also be used for slashing as well. Some tanto were forged with a particularly thick cross section which was thought to aid in piercing the armour of enemies, this type of dagger would be called a yoroi toshi.

A tanto would most often be worn by Samurai, and it was very uncommon to come across a non samurai with a tanto. It was not only men who carried these daggers, women would on occasions carry a small tanto called a kaiken in their obi which would be used for self-defence. In feudal Japan a tanto would occasionally be worn by Samurai in place of the wakizashi in a combination called the daisho, which roughly translates as big-little, in reference to the big Samurai Sword (Katana) and the small dagger (tanto). Before the rise of the katana it was more common for a Samurai to carry a tachi and tanto combination as opposed to a katana and wakizashi.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords

Overall 13.5 inches long overall, 9.25 inch blade  read more

Code: 23245

Wonderful High Grade, Samurai Dagger From The Koto Era, Armour PiercingTanto By Kanesada. A Tanto of Likely A Highest Ranked Retainer of the Great Takeda Shingen 武田 信玄 & Bearing His Silver Mon {Crest}. Around 500 Years Old

Likely used by a high ranking samurai retainer in service of the great samurai commander of legend, Takeda Shingen, and bearing his clan mon menuki upon the tsuka {hilt} beneath the tsuka-ito {silk wrap}.

Takeda Shingen (武田 信玄, December 1, 1521 – May 13, 1573) was daimyo lord of Kai Province during the Sengoku period of Japan. Known as the "Tiger of Kai", he was one of the most powerful daimyo of the late Sengoku period, and credited with exceptional military prestige. Shingen was based in a poor area with little arable land and no access to the sea, but he became one of Japan's leading daimyo. His skills are highly esteemed and on par with Mōri Motonari.


The blade had a few small surface marks that we had removed by a Japanese trained artisan and it now looks incredible

Armour piercing Koto blade circa 1530, with superb original Edo period fittings koshirae, including silver copper alloy mounts and a gilt dragon saya ornament. Hammered gold over copper alloy oval tsuba, and silver clan mon menuki within the tsuka hilt wrap of the four interlocking diamonds of Takeda Shingen's clan.

The saya is decorated in superb cinnabar lacquer, the favoured colour and symbol of Takeda Shingen his armour was entirely based on this colour and the tsuka wrapped in black silk over Takeda kamon on giant rayskin.

In 1548, Shingen defeated Ogasawara Nagatoki in the Battle of Shiojiritoge and then took Fukashi in 1550.
After conquering Shinano, Shingen faced another rival, Uesugi Kenshin of Echigo. The feud between them became legendary, and they faced each other on the battlefield five times in the Battles of Kawanakajima. These battles were generally confined to controlled skirmishes, neither daimyo willing to devote himself entirely to a single all-out attempt. The conflict between the two that had the fiercest fighting, and might have decided victory or defeat for one side or the other, was the fourth battle, during which the famous tale arose of Uesugi Kenshin's forces clearing a path through the Takeda troops and Kenshin engaging Shingen in single combat. The tale has Kenshin attacking Shingen with his sword while Shingen defends with his iron war fan or tessen. Both lords lost many men in this fight, and Shingen in particular lost two of his main generals, Yamamoto Kansuke and his younger brother Takeda Nobushige. In 1563, allied with Hojo Ujiyasu, he captured Matsuyama Castle in Musashi Province. Takeda Shingen then took Kuragano in 1565 and Minowa Castle. He then moved against the Hojo by attacking Hachigata Castle then engaged in the Siege of Odawara (1569). He successfully withdrew after Hojo Ujiteru and Hojo Ujikuni failed to stop him in the Battle of Mimasetoge.Shingen and Tokugawa Ieyasu "came to terms" and occupied the "former Imagawa territory." They both fought against Yoshimoto's heir, Imagawa Ujizane. After defeating the intervention forces commanded by Hojo Ujimass of Sagami, Shingen finally secured the Suruga, formerly base of the prestigious Imagawa clan, as a Takeda asset in 1569.
Upon securing Takeda control over Suruga, northern Shinano, and western Kozuke, Shingen moved to challenge the Oda-Tokugawa alliance, leading a formidable force of over 30,000 into the latter's territories in Totomi, Mikawa, and Mino in 1572.

Photo number 8 in the gallery show the blade now looking stunning, the previous photos in the gallery show it prior to the professional attention undertaken, to show how much it has improved.

As once told to us by an esteemed regular visitor to us here in our gallery, and the same words that are repeated in his book;

“In these textures lies an extraordinary and unique feature of the sword - the steel itself possesses an intrinsic beauty. The Japanese sword has been appreciated as an art object since its perfection some time during the tenth century AD. Fine swords have been more highly prized than lands or riches, those of superior quality being handed down from generation to generation. In fact, many well-documented swords, whose blades are signed by their makers, survive from nearly a thousand years ago. Recognizable features of the blades of hundreds of schools of sword-making have been punctiliously recorded, and the study of the sword is a guide to the flow of Japanese history.”
Victor Harris
Curator, Assistant Keeper and then Keeper (1998-2003) of the Department of Japanese Antiquities at the British Museum. He studied from 1968-71 under Sato Kenzan, Tokyo National Museum and Society for the Preservation of Japanese Swords  read more

Code: 21324